Drum Rhythms

Afrocuba de Matanzas: Batarumba "Palo Yaya"

noreply@blogger.com (Richard Taylor) — Tue, 27 Oct 2009 16:54:00 +0000

Here is a great video by one of my favorite groups Afrocuba de Matanzas. They are performing the piece "Palo Yaya"

Afrocuba is a very old group, founded in 1957. They've had a great career and I feel very lucky I got to see them perform here in Berkeley.

If you're interested in hearing more we have Afrocuba de Matanzas CD's in our CD store.

Click on this video to open up the larger version in Youtube.

Los Munequitos de Matanzas - Yambu

noreply@blogger.com (Richard Taylor) — Wed, 18 Jul 2007 19:55:00 +0000

I've going to start posting various videos to this blog in order to bring it back to life. In this first video, you will be seeing a Mantanzas style Yambu performed by Los Munequitos de Matanazas. I've put up links and descriptions for a bunch of Los Munequitos de Matanzas albums in the drumming albums section of my site. On to our main feature. "El Marino" by Los Munequitos de Matanazas.

Bembe - Lesson 1

noreply@blogger.com (Richard Taylor) — Thu, 08 Dec 2005 20:58:00 +0000

Bembe is a 6/8 religious rhythm played in Cuba.

In a bembe you have several drums that hold down the rhythm. The bottom drum plays the lead part, soloing off of the "1". Over the next few months I'm going to reveal how I went from playing a very simple 'part' to being able to improvise out of the part. This is especially for the drummer that wants to learn to improvise out of a 'part'. We'll discuss at least 3 different ways to play lead and the permutations that arise from these variations.

Today we'll start off with the basic patterns and then follow up with variations in future posts.

I think everyone will find this very interesting!

Bembe

Low Drum - Bottom #1
| 1 | + | a | 2 | + | a | 3 | + | a | 4 | + | a |
| T | · | B | B | S | · | B | B | · | M | M | M |
| R | L | R | L | R | L | R | L | R | L | R | L |

Middle Drum
| 1 | + | a | 2 | + | a | 3 | + | a | 4 | + | a |
| B | F | S | B | T | T | B | F | S | B | T | T |
| L | L | R | L | R | R | L | L | R | L | R | R |

High Drum
| 1 | + | a | 2 | + | a | 3 | + | a | 4 | + | a |
| T | S | · | T | S | · | T | S | · | T | S | · |
| R | L | · | R | L | · | R | L | · | R | L | · |

Clave/Bell
| 1 | + | a | 2 | + | a | 3 | + | a | 4 | + | a |
| X | · | X | · | X | X | · | X | · | X | · | X |

Key

T = Tone, Open
B = Bass, Bass Tone, Heel
S = Slap
F = Finger, Touch, Toe
· = Touch, Tacit

X = Clave/Bell Strike

R = Right Hand Stroke, Primary/Strong Hand Stroke
L = Left Hand Stroke, Weak Hand Stroke

2-Drum Havana-Style Rumba Guaguanco - Variations

noreply@blogger.com (Richard Taylor) — Wed, 10 Nov 2004 16:35:00 +0000

Rumba Guaguanco is a traditional rhythm played at festivities in Cuba. The Guaguanco represented here is typically called the Havana-style Guaguanco. I have put a few of my favorite Rumba CD's for your browsing pleasure.

A few months back I showed a guaguanco for 1 drummer. Now I will show a few basic variations for the segundo (high-drum) of the rhythm. This is the first step in being able to improvise.

2-Drum Guaguanco - Original Rhythm

Clave
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
X · · X · · · X · · X · X · · ·

Drums - Low/High Drum, Tumbao/Segundo
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
· S B S T S T S T S T S
R L R L R L R L R L R L
^ ^ ^ ^ v ^ ^ ^ ^ ^ v ^

2-Drum Guaguanco - Variation 1

Drums - Low/High Drum, Tumbao/Segundo
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
· S B S T S T S T T S T S
R L R L R L R L R R L R L
^ ^ ^ ^ v ^ ^ ^ ^ ^ ^ v ^

2-Drum Guaguanco - Variation 2

Drums - Low/High Drum, Tumbao/Segundo
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
· S B S T S T T S T S T S
R L R L R L R R L R L R L
^ ^ ^ ^ v ^ ^ ^ ^ ^ ^ v ^

2-Drum Guaguanco - Variation 3

Drums - Low/High Drum, Tumbao/Segundo
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
· S B S T S T T S T T S T S
R L R L R L R T L R T L R L
^ ^ ^ ^ v ^ ^ ^ ^ ^ ^ ^ v ^

(NOTE: These are all written with the high drum in the center and the low drum to your right).

Key

T = Tone, Open
B = Bass, Bass Tone
S = Slap, Closed
M = Muff, Muffled Tone
· = Touch Stroke

X = Clave/Bell Strike

R = Right Hand Stroke, Primary/Strong Hand Stroke
L = Left Hand Stroke, Weak Hand Stroke

^ = High Drum
v = Low Drum

Double Strokes - More Tumbao Variations

noreply@blogger.com (Richard Taylor) — Wed, 10 Nov 2004 01:40:00 +0000

It's been a while since I've written for my blog. A while back I wrote about double strokes. Here are a few more basic uses of double strokes within Tumbao.

If you have any rhythms you would like to share, please email me - I'll post your rhythm/s and a credit (your email address, web address, etc). We'd also like to share more links, if you would to exchange let us know. If you have any comments - let us know. email us.

Conga Rudiment - Double Stroke Tones & Slaps

Doubles played with Tones

| 1 | + | 2 | + | 3 | + | 4 | + |
| T | T | T | T | T | T | T | T |
| R | R | L | L | R | R | L | L |

Played with Slaps

Play with slaps is a lot more advanced. Until you're really comfortable and relaxed with the tones it is best to wait on the slaps. My first instructor had me wait close to a year before I started to work on my slaps. It is essential is to be as relaxed as possible when working slaps. Practicing with too much tension can result in issues with the tendons, joints, muscles, etc... Relax :-)

(A number of months ago I submitted a post to the "latinperc" group at yahoogroups. It goes a bit more in depth regarding how the slap is played. You can read it on Chuck Silverman's website. I was quite suprised to have him like it and post it on his website. Thanks Chuck!)

| 1 | + | 2 | + | 3 | + | 4 | + |
| S | S | S | S | S | S | S | S |
| R | R | L | L | R | R | L | L |

Double Tones Played within Mambo / Tumbao

Now that we've reviewed doubles we'll incorporate them with the Mambo. Practicing rudiments is one thing. Skillfully applying rudiments is an entirely different thing. This will get you started at a very basic level with application of rudiments.

Note: This rhythm shifts in to double time during the last half of the second measure. I did my best to demonstrate the rhythm in a notation that shows the distances and length of sounds (ie. double time would have a note that's half the length). Someday I'll have to get a musical notation software. I'll look in to it, if you have a suggestion, email me.

| 1 | + | 2 | + | 3 | + | 4 | + | 1 | + | 2 | + |3|e|+|a|4|e|+|a|
| B | F | S | F | B | F | T | T | B | F | S | F |T|T|T|T|T|T|T|T|
| R | R | L | L | R | R | L | L | R | R | L | L |R|R|L|L|R|R|L|L|

Key
T = Flam Tone, Flam Open
T = Tone, Open
B = Bass, Bass Tone
F = Finger, Toe
S = Slap

X = Clave/Bell Strike

B = Both Hands, Flam Stroke
R = Right Hand Stroke, Primary/Strong Hand Stroke
L = Left Hand Stroke, Weak Hand Stroke

2-drum Rumba Guaguanco

noreply@blogger.com (Richard Taylor) — Thu, 26 Aug 2004 00:11:00 +0000

Rumba Guaguanco is a traditional rhythm played at festivities in Cuba. The Guaguanco represented here is typically called the Havana-style Guaguanco. I have put a few of my favorite CD's up for your browsing pleasure.

In my last blog I showed a guaguanco for 2 drummers. Now I will show this rhythm for 1 drummer. It's very basic how this hooks up. It is important to build this up step by step so we'll start here.

Havana Style Rumba Guaguanco for 1 drummer

Clave
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
X · · X · · · X · · X · X · · ·

Drums - Low/High Drum, Tumbao/Segundo
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
· S B S T S T S T S T S
R L R L R L R L R L R L
^ ^ ^ ^ v ^ ^ ^ ^ ^ v ^
(NOTE: written with the high drum in the center and the low drum to your right).

Key

Rumba Guaguanco - Havana Style

noreply@blogger.com (Richard Taylor) — Wed, 25 Aug 2004 17:47:00 +0000

Rumba Guaguanco is a traditional rhythm played at festivities in Cuba. The Guaguanco represented here is typically called the Havana-style Guaguanco.

This is a very basic 2 drum version that I learned from a very good friend and teacher. This variation is nice because it uses a simpler version of the Segundo. Over time I can show numerous variations on this rhythm - let me know if you're interested.

The drums featured in this rhythm are just the bottom two drums. This is usually played with a 3rd drum the quinto. The quinto is the drum that improvises (solos) the most within the rhythm. You can learn about Quinto from my friend Cliff's book - Rumba: Afro-Cuban Conga Drum Improvisation Book / 2 CD Set.

Havana Style Rumba Guaguanco

Clave
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
X · · X · · · X · · X · X · · ·

Low Drum / Tumbao
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
B B B T B · B T
L R L R L R L R

Middle Drum / Segundo
1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
· S B S S T S T S S
R L R L L R L R L L

Key

Yeza ( Iyesa )

noreply@blogger.com (Richard Taylor) — Sat, 21 Feb 2004 00:02:00 +0000

Yeza or Iyesa is a rhythm that came from West Africa. It's the name of a family of drums, rhythms and a religious practice in Cuba.

In this rhythm the low drum is the solo drum. In future blog entries I will cover many variations that can be played by the solo drum. There is an incredible Iyesa on Grupo AfroCuba's Raices Africanas CD. (NOTE: The one I'm showing here is different from the one on the album. The Iyesa on the album uses traditional drums - played with hands and sticks.)

Yeza / Iyesa

High Drum
| 1 | + | 2 | + | 3 | + | 4 | + | 1 | + | 2 | + | 3 | + | 4 | + |
| S | S | · | S | T | · | T | · | S | S | · | S | T | · | T | · |
| R | L | R | L | R | L | R | L | R | L | R | L | R | L | R | L |

Middle Drum
| 1 | + | 2 | + | 3 | + | 4 | + | 1 | + | 2 | + | 3 | + | 4 | + |
| B | | S | | B | T | B | T | B | | S | | B | T | B | T |
| L | | R | | L | R | L | R | L | | R | | L | R | L | R |

Low Drum
| 1 | + | 2 | + | 3 | + | 4 | + | 1 | + | 2 | + | 3 | + | 4 | + |
| · | M | M | T | | · | B | B | B | | · | T | | · | S | |
| L | R | L | R | | L | R | L | R | | L | R | | L | R | |

Key

Drumming Rudiment - Double Stroke Tones & Slaps

noreply@blogger.com (Richard Taylor) — Tue, 03 Feb 2004 18:54:00 +0000

A hand drumming rudiment for the conga, djembe, etc. I've heard doubles are the fundamentals that Giovanni Hidalgo has most people start with.

Suggestions: I've heard of two ways to play it. In the first method you use the hand like a stick you strike directly downward, hit twice, and bounce straight back up. In the second method you bring the hand slightly towards you which helps facilitate the second strike of each hand - this is like a very slight heel toe motion the second stroke is more of a rebound then an actual strike. With both methods the goal is to get the sounds on either hand, and first or second sound, nice and clear sounding. Let me know if you have any input - I'll post it here (see my email link below :-)

Conga Rudiment - Double Stroke Tones & Slaps

Played with Tones

| 1 | + | 2 | + | 3 | + | 4 | + |
| T | T | T | T | T | T | T | T |
| R | R | L | L | R | R | L | L |

Played with Slaps

This is a bit more advanced. Until you're really comfortable with the tones you may want to wait on the slaps. I know I waited almost a year before I even really tried to work on my slaps.. it's essential is to be as relaxed as possible when working slaps. Practicing with too much tension can result in long term issues with the tendons, joints, muscles, etc.... So, RELAX! :-)

(A while back I submitted this article to the "latinperc" group at yahoogroups. It goes a bit more in depth with regards to how the slap is played. You can read it on Chuck Silverman's website. I was very suprisesd and happy to have him like it and post it on his website. Thanks Chuck!)

| 1 | + | 2 | + | 3 | + | 4 | + |
| S | S | S | S | S | S | S | S |
| R | R | L | L | R | R | L | L |

Double Tones Played within Mambo / Tumbao

Now doubles within the Mambo. This is where we start approaching the real stuff. Practicing rudiments is one thing. Skillfully applying rudiments is an entirely different thing. This will get you started at a very basic level with application of rudiments.

Note: The rhythm shifts in to double time in the last half of the second measure. Those that read music well probably can see this. I did my best to quickly demonstrate the rhythm in a notation that closely corrolates with the distances and length of sounds (ie. double time would have a note that's half the length). Maybe I'll have to get a musical notation software.. I'll look in to it, if you have a suggestion, email me.

| 1 | + | 2 | + | 3 | + | 4 | + | 1 | + | 2 | + |3|e|+|a|4|e|+|a|
| B | F | S | F | B | F | T | T | B | F | S | F |T|T|T|T|T|T|T|T|
| R | R | L | L | R | R | L | L | R | R | L | L |R|R|L|L|R|R|L|L|

Key
T = Flam Tone, Flam Open
T = Tone, Open
B = Bass, Bass Tone
F = Finger, Toe
S = Slap

X = Clave/Bell Strike

B = Both Hands, Flam Stroke
R = Right Hand Stroke, Primary/Strong Hand Stroke
L = Left Hand Stroke, Weak Hand Stroke

Drumming Rudiment

noreply@blogger.com (Richard Taylor) — Tue, 03 Feb 2004 09:10:00 +0000

A hand drumming rudiment for the conga, djembe, etc. It works the tone / open flam and the slaps of both hands.

Suggestions: Try speeding up and slowing down. One person recommends watching a clock and slowly speeding over a 5 minute period reaching max speed during the last 30 seconds. Reverse the hand strokes. Play it with a metronome. Try shifting the starting beat so that you have 3 versions of the rudiment - 1 that starts on 1, 1 that starts on the "+" after 1, and 1 that starts after the "a" before 2 - play these 3 versions with a metronome, and learn how to come in on any of the 3 points in the beat scheme.

Conga Rudiment

| 1 | + | a | 2 | + | a | 3 | + | a | 4 | + | a |
| T | T | S | T | S | T | T | T | S | T | S | T |
| B | R | L | B | R | L | B | R | L | B | R | L |

Key
T = Flam Tone, Flam Open
T = Tone, Open
B = Bass, Bass Tone
S = Slap

X = Clave/Bell Strike

B = Both Hands, Flam Stroke
R = Right Hand Stroke, Primary/Strong Hand Stroke
L = Left Hand Stroke, Weak Hand Stroke

Havana Abakua

noreply@blogger.com (Richard Taylor) — Tue, 03 Feb 2004 07:54:00 +0000

Abakwa - A rhythm from a secret male society in Cuba. This is said to be a Havana version of the rhythm.

Abakwa

Low Drum
| 1 | + | a | 2 | + | a | 3 | + | a | 4 | + | a |
| B | S | · | B | T | · | B | S | · | B | T | · |
| L | R | · | L | R | · | L | R | · | L | R | · |

Middle Drum
| 1 | + | a | 2 | + | a | 3 | + | a | 4 | + | a |
| T | · | B | · | T | · | B | · | T | · | B | · |
| R | · | R | · | R | · | R | · | R | · | R | · |

High Drum
| 1 | + | a | 2 | + | a | 3 | + | a | 4 | + | a |
| T | S | · | T | S | · | T | S | · | T | S | · |
| R | L | · | R | L | · | R | L | · | R | L | · |

Clave/Bell
| 1 | + | a | 2 | + | a | 3 | + | a | 4 | + | a |
| X | · | X | · | · | X | · | X | · | X | · | · |

Key

T = Tone, Open
B = Bass, Bass Tone
S = Slap

X = Clave/Bell Strike

R = Right Hand Stroke, Primary/Strong Hand Stroke
L = Left Hand Stroke, Weak Hand Stroke